Actors

Actors

Dorota Segda

A graduate of the Acting Department of the Ludwik Solski Academy for the Dramatic Arts in Kraków (1988).
1 January 1987 –The Stary Theatre, Kraków

She is an outstanding actress, professor, and vice-rector of the Academy for the Dramatic Arts in Kraków. She had her first major role as the seductive and innocent Albertynka in “Operetta” directed by Tadeusz Bradecki. Immediately thereafter she was employed by Andrzej Wajda: she was Ophelia in “Hamlet IV” and the Bride in “The Wedding.” She achieved her greatest recognition for her roles in plays by Jerzy Jarocki, her mentor in the thespian craft, above all her flagship role of Mańka in “The Marriage.” She has twice received the prestigious Zelwerowicz Award for roles in plays by this director: Salome in “The Silver Dream of Salome” and Margaret in “Faust.”
‘I like to see myself as a Wyspiański actress,’ says Dorota Segda. Upon becoming director of the Stary Theater in 1997, Jerzy Grzegorzewski cast her in “November Night” (Princess Joanna), “The Judges” (Joas), and “The Wedding” (Rachela), recognizing that he could not build the “House of Wyspiański” he dreamed of without her talent.
At the same time, Dorota Segda has no difficulty fitting into productions by the younger generation of directors, having played the demonic Countess Geschwitz in “Lulu” (directed by Michał Borczuch), the mysterious, sensual Sister (S) in “The Road to Damascus” (directed by Jan Klata), or the tragic figure of Lucy in “Ashes Collecting Inside the Sun” (directed by Wojciech Faruga).
In “A Subjective List of Theater Actors” Jacek Sieradzki called her ‘masterful’, contending: ‘I cannot remember her as having been filled with such a fiery and spiteful passion for ages, not as she was in “The Undivine Comedy” with the character of Barbara Niechcic, a girl with the mannerisms of an aristocrat, collecting her family’s silver, with the soul of an egotistical and rapacious bourgeois. This remarkably bold gesture by Demirski and Strzępka, inserting (…) this utterly unexpected character from Dąbrowska’s novel in their play, works, to a large degree, because of her sureness in the contours of the performance, through the sharpness and venom of this portrait.’

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